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Spenser, Donne, and the trouble of periodization

, Shakespeare, Donne, Milton (London: Deutsch, 1971); Louis Martz, From Renaissance to Baroque: Essays on Literature and Art (Columbia: University of Missouri Press, 1991); Murray Roston, Tradition and Subversion in Renaissance Literature: Studies in Shakespeare, Spenser, Jonson, and Donne (Pittsburgh: Duquesne University Press, 2007); Terry G. Sherwood, The Self in Early Modern Literature: For the Common Good (Pittsburgh: Duquesne University Press, 2007); Adam Potkay, ‘Spenser, Donne, and the Theology of Joy’, Studies in English Literature 1500–1900 , 46.1 (2006

in Spenser and Donne
Divine destruction in Friar Bacon and Friar Bungay

Andrew Borlik, ‘“More than Art”: Clockwork Automata, the Extemporising Actor, and the Brazen Head in Friar Bacon and Friar Bungay ’, in Wendy Beth Hyman (ed.), The Automaton in English Renaissance Literature (Farnham: Ashgate, 2011 ), pp. 129–44, p. 130. 6 George Molland, ‘Bacon, Roger

in Making and unmaking in early modern English drama

Excuse me, gentle reader if oughte be amisse, straung paths ar not troden al truly at the first: the way muste needes be comberous, wher none hathe gone before. 1 all geographies are imaginative geographies – fabrications in the literal sense of ‘something made’ – and our access to the world is always made through particular technologies of representation. 2 The constructions of space that occur in Renaissance literature can be related to Sir Philip Sidney’s argument in The Defence

in Edmund Spenser and the romance of space
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future we don’t have to layer past and present on top of one another to create a hybrid montage. As a vision of Rome’s possible future the picture of cows lowing in the Forum is simply and literally true. In Archaeologies of English Renaissance Literature , Philip Schwyzer makes the following observation about a group of English Renaissance treatments of ruin, including Shakespeare’s Sonnet

in A familiar compound ghost
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A world of difference: religion, literary form, and the negotiation of conflict in early modern England

reappraisal of the Catholic past, worlds away from the Reformation polemic of a Bale or Lambarde. Nostalgia for the visible remains of Catholicism, and a backward and approving look at the religion which had produced them, were therefore hard to separate.’ Duffy, The Stripping of the Altars, p. 43. 18 See S. Cohen (ed.), Shakespeare and Historical Formalism (Aldershot:  Ashgate, 2007) and his earlier essay ‘Between Form and Culture:  New Historicism and the Promise of a Historical Formalism’, in M.  D. Rasmussen (ed.), Renaissance Literature and Its Formal Engagements (New

in Forms of faith
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Archaism, etymology and the idea of development

: How Anthropology Makes Its Object (New York: Columbia University Press, 2002 ), xli. 6 Doreen Massey , For Space (London: Sage Publications, 2005 ), 71. 7 Catherine Nicholson , Uncommon Tongues: Eloquence and Eccentricity in the English Renaissance (Philadelphia: University of Pennsylvania Press, 2014 ), 11–12. 8 Paula Blank , Broken English: Dialects and the Politics of Language in Renaissance Literature (New York

in Rereading Chaucer and Spenser

University Press , 2010 ), pp. 153–62 . Craig , H. , ‘ The 1602 Additions to The Spanish Tragedy ’, in H. Craig and A. F. Kinney (eds), Shakespeare, Computers, and the Mystery of Authorship ( Cambridge : Cambridge University Press , 2009 ), pp. 162–80 . Empson , W. , ‘ The Spanish Tragedy (II) ’, in J. Haffenden (ed.), Essays on Renaissance Literature , vol. 2 ( Cambridge : Cambridge University Press , 1994 ), pp. 41

in Doing Kyd
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, 1580–1730 (Houndmills: Palgrave Macmillan, 2010), p. 3. 6 In Renaissance studies, see e.g. Mark David Rasmussen (ed.), Renaissance Literature and Its Formal Engagements (Houndmills: Palgrave, 2002); Jeff Dolven, ‘Shakespeare and the new aestheticism’, Literary Imagination , 5 (2003), 95

in Formal matters
Ekphrasis and historical materiality in Shakespeare’s The Rape of Lucrece

, Archaeologies of English Renaissance Literature (Oxford: Oxford University Press, 2007), and Angus Vine, In Defiance of Time: Antiquarian Writing in Early Modern England (Oxford: Oxford University Press, 2010).  8 Catherine Belsey, ‘Invocation of the Visual Image: Ekphrasis in Lucrece and Beyond’, Shakespeare Quarterly, 63 (2012), 175–98 (p. 196).  9 Greene describes an unrequited desire in the Renaissance for the ancient world, a desire that was like an ‘incomplete embrace’ (The Light in Troy, p. 43). 10 Valentine Cunningham, ‘Why Ekphrasis?’, Classical Philology, 102

in Ekphrastic encounters
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Historicism, whither wilt?

. Freeman, Religion and the Book in Early Modern England: The Making of John Foxe’s ‘Book of Martyrs’ (Cambridge: Cambridge University Press, 2011); J. T. Knight, Bound to Read: Compilations, Collections and the Making of Renaissance Literature (Philadelphia: University of Pennsylvania Press, 2013); J. A. Dane, What is a Book? The Study of Early Printed Books (South Bend: University of Notre Dame Press, 2012). 42 See Wolfram Schmidgen’s comments on this interpretive position in Exquisite Mixture: The Virtues of Impurity in Early Modern England (Philadelphia: University of

in Texts and readers in the Age of Marvell